1 Introduction. Avant-Garde Journalism
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Hannah Weiner Papers
http://oac.cdlib.org/findaid/ark:/13030/kt5g500434 Online items available Hannah Weiner Papers Special Collections & Archives Special Collections & Archives, UC San Diego Copyright 2005 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Hannah Weiner Papers MSS 0504 1 Descriptive Summary Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Title: Hannah Weiner Papers Creator: Weiner, Hannah Identifier/Call Number: MSS 0504 Physical Description: 6.5 Linear Feet(16 archives boxes, 1 card file box and 3 oversize folders) Date (inclusive): 1946-2002 Abstract: Papers of Hannah Weiner (1928-1997), a New York City poet and significant member of the "language-centered" group of writers. The papers, covering the years 1946-2002, contain notebooks, typescripts of poems, prose works, typed transcriptions of notebooks, audiorecordings, and miscellaneous materials. Included are materials for Clairvoyant Journals 1974: March - June Retreat (1978), Code Poems: From the International Code of Signals for the Use of All (1982), The Fast (1992), The Magritte Poems (1970), and Spoke (1984). Scope and Content of Collection The Hannah Weiner Papers contain notebooks (1971-1979, 1984, 1990-1992, and 1997) and typed transcriptions from the notebooks which provided the basis for several of her books. Also included are significant unpublished materials in both notebook and manuscript form, typescripts of poems and prose works, cassette audiorecordings of several poetry readings, and a small amount of miscellaneous material. The bulk of the collection dates between 1971 and 1979 with some documentation of the early 1990s and the year prior to Weiner's death. -
Lyn Hejinian “The Inanimate Are Rocks, Desks, Bubble,” 50 from My Life 51 from Writing Is an Aid to Memory 54 the Green 57 “The Erosion of Rocks Blooms
in the american tree Silliman in the american tree Second Edition, with a new Afterword by Ron Silliman The “Language Poets” have extended the Pound-Williams (or perhaps the Pound-Williams- in the americanlanguage tree realism poetry Zukofsky-Stein) tradition in American writing into new and unexpected territories. In the process, these poets have established themselves as the most rigorous and the most radically experi- mental avant-garde on the current literary scene. This anthology offers the most substantial col- lection of work by the Language Poets now available, along with 130 pages of theoretic statements by poets included in the anthology. As such, In the American Tree does for a new generation of American poets what Don Allen’s The New American Poetry did for an earlier generation. The poets represented include Robert Grenier, Barrett Watten, Lyn Hejinian, Bob Perelman, Michael Palmer, Michael Davidson, Clark Coolidge, Charles Bernstein, Hannah Weiner, Bruce Andrews, Susan Howe, Fanny Howe, Bernadette Mayer, Ray DiPalma, and many others. “For millennia, poets have had to make their own way and the world that goes with it. The genius of these various writers and the consummate clartiy with which they are presented here make very clear again that not only is this the road now crucial for all poetry, it’s literally where we are going.” –Robert Creeley “This historic anthology brings into long-needed focus the only serious and concerted movement in American literature of the past two decades. It will be indispensible to anyone with interest in writ- ing’s present and hope for writing’s future.” –Peter Schjeldahl “Provocative in its critique and antidote, this collection invites the curious writer/reader to question all assumptions regarding generally agreed upon values of poetic language practices. -
PNZ 47 Digital Version
Poetry NZNEW ZEALAND 47 featuring the poetry of 1 Harry Ricketts comment by Jack Ross & Bill Sutton Poetry NZ Number 47, 2013 Two issues per year Editor: Alistair Paterson ONZM Submissions: Submit at any time with a stamped, self-addressed envelope (and an email address if available) to: Poetry NZ, 34B Methuen Road, Avondale, Auckland 0600, New Zealand or 1040 E. Paseo El Mirador, Palm Springs, CA 92262-4837, USA Please note that overseas submissions cannot be returned, and should include an email address for reply. Postal subscriptions: Poetry NZ, 37 Margot Street, Epsom, Auckland 1051, New Zealand or 1040 E. Paseo el Mirador, Palm Springs, CA 92262-4837, USA Postal subscription Rates: US Subscribers (by air) One year (2 issues) $30.00 $US24.00 Two years (4 issues) $55.00 $US45.00 Libraries: 1 year $32.00 $US25.00 Libraries: 2 years $60.00 $US46.00 Other countries One year (2 issues) $NZ36.00 Two years (4 issues) $NZ67.00 Online subscriptions: To take out a subscription go to www.poetrynz.net and click on ‘subscribe’. The online rates are listed on this site. When your subscription application is received it will be confi rmed by email, and your fi rst copy of the magazine will then be promptly posted out to you. 2 Poetry NZ 47 Alistair Paterson Editor Puriri Press & Brick Row Auckland, New Zealand Palm Springs, California, USA September 2013 3 ISSN 0114-5770 Copyright © 2013 Poetry NZ 37 Margot Street, Epsom, Auckland 1051, New Zealand All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photo copying, recording or otherwise without the written permission of the publisher. -
CHARLES BERNSTEIN & HANNAH WEINER Interview for Linebreak
CHARLES BERNSTEIN & HANNAH WEINER Interview for LINEbreak I was intrigued when I discovered, in the course of seeking permission to publish this transcript, that Hannah Weiner’s 1995 conversation with Charles Bernstein for the public radio program LINEbreak had been edited down for broadcast. The show’s producer, Martín Spinelli, replied quickly to my e-mail: “[Hannah’s] recording session was one of the longest we did for the series.” The raw tape of the session is preserved in Spi- nelli’s archive at the immense UB Poetry Collection, and runs about twenty minutes longer than the broadcast version ar- chived at http://writing.upenn.edu/pennsound/x/LINEbreak. html. In keeping with the spirit of Weiner’s own impusle to let her “nonliterary” surround in, I have transcribed all the conver- sation on the tape. — Robert Dewhurst One extremely hot summer afternoon in 1995 Charles Bern- stein and I drove across Manhattan to Hannah Weiner’s clut- tered but comfortable apartment to record her for our radio series LINEbreak. Charles and I had been recording other po- ets and writers for the series and Hannah was one of last (if not the last) to be taped. This would turn out to be her last broadcast interview before her death. As I set up the recording equipment we wondered about the noise coming in from the open windows and decided to close them for better acoustics. 141 WILD ORCHIDS But even as we sweated in her airless living room the noise from the street made it through and prompted me to stop a couple of times. -
Making Speech-Matter: Recurring Mediations in Sound Poetics and Its Contemporary Practice
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice http://bbktheses.da.ulcc.ac.uk/35/ Version: Full Version Citation: Pester, Holly (2013) Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice. PhD thesis, Birkbeck, University of London. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email 1 Making Speech-Matter: Recurring Mediations in Sound Poetics and its Contemporary Practice Holly Pester Birkbeck, University of London PhD 2013 2 I, Holly Pester, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ---------------------------------------------- 3 Abstract This thesis produces a critical and creative space for new forms of sound poetics. Through a reflective process combining theoretical research and poetic practice – performances, text-scores and installations – the thesis tests the contemporary terms of intermedial poetics and sound poetry, establishing a conceptual terminology for speech-matter. Beginning with a study of 1960s sound poet Henri Chopin and his relation to the tape machine, I argue that this technological mediation was based on a poetics of analogue sound hinged on bodily engagement. Social and physical properties of the tape machine contribute to a mode of practice that negotiates the body, machine, and effort. Exploring Michel Serres’s concept of parasitic noise and the relation of interference to lyric appeal, via the work of Denise Riley and Hannah Weiner, I understand sound poetics as a product of lyrically active noise. -
The Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER $5.00 #212 OCTOBER/NOVEMBER 2007 How to Be Perfect POEMS BY RON PADGETT ISBN: 978-1-56689-203-2 “Ron Padgett’s How to Be Perfect is. New Perfect.” —lyn hejinian Poetry Ripple Effect: from New and Selected Poems BY ELAINE EQUI ISBN: 978-1-56689-197-4 Coffee “[Equi’s] poems encourage readers House to see anew.” —New York Times The Marvelous Press Bones of Time: Excavations and Explanations POEMS BY BRENDA COULTAS ISBN: 978-1-56689-204-9 “This is a revelatory book.” —edward sanders COMING SOON Vertigo Poetry from POEMS BY MARTHA RONK Anne Boyer, ISBN: 978-1-56689-205-6 Linda Hogan, “Short, stunning lyrics.” —Publishers Weekly Eugen Jebeleanu, (starred review) Raymond McDaniel, A.B. Spellman, and Broken World Marjorie Welish. POEMS BY JOSEPH LEASE ISBN: 978-1-56689-198-1 “An exquisite collection!” —marjorie perloff Skirt Full of Black POEMS BY SUN YUNG SHIN ISBN: 978-1-56689-199-8 “A spirited and restless imagination at work.” Good books are brewing at —marilyn chin www.coffeehousepress.org THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #212 OCTOBER/NOVEMBER 2007 NEWSLETTER EDITOR John Coletti WELCOME BACK... DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 4 ANNOUNCEMENTS THE POETRY PROJECT LTD. STAFF ARTISTIC DIRECTOR Stacy Szymaszek PROGRAM COORDINATOR Corrine Fitzpatrick PROGRAM ASSISTANT Arlo Quint 6 WRITING WORKSHOPS MONDAY NIGHT COORDINATOR Akilah Oliver WEDNESDAY NIGHT COORDINATOR Stacy Szymaszek FRIDAY NIGHT COORDINATOR Corrine Fitzpatrick 7 REMEMBERING SEKOU SUNDIATA SOUND TECHNICIAN David Vogen BOOKKEEPER Stephen Rosenthal DEVELOpmENT CONSULTANT Stephanie Gray BOX OFFICE Courtney Frederick, Erika Recordon, Nicole Wallace 8 IN CONVERSATION INTERNS Diana Hamilton, Owen Hutchinson, Austin LaGrone, Nicole Wallace A CHAT BETWEEN BRENDA COULTAS AND AKILAH OLIVER VOLUNTEERS Jim Behrle, David Cameron, Christine Gans, HR Hegnauer, Sarah Kolbasowski, Dgls. -
LISTEN! LISTEN! LISTEN! - Amodern 15-04-21 8:50 AM
LISTEN! LISTEN! LISTEN! - Amodern 15-04-21 8:50 AM Amodern 4: The Poetry Series LISTEN! LISTEN! LISTEN! Jackson Mac Low's Phonopoetics Michael Nardone Cogs & cogs that cannot turn to recognitions: such dogs in the dark noonday! As if the tongue told & tolled Among the melancholic arcades. Where the moods advance toward the modes. Time to try the knot, the Not Or to be caught Forever in the nerve-traceries of Beauty… Unstrung, the structure is sound. –Andrew Joron, “Mazed Interior” [1] I begin with “Mazed Interior” because the interplay of sounds and meanings in Joron’s poem – the resonant shift from “told” to “tolled,” “the knot” before “the Not,” the mechanisms of individual recognitions advancing toward utterance, moods molding into modes – opens up a space to hear Jackson Mac Low, his “simultaneities,” his “word event,” and, with Mac Low, approach the architectonics of noise his works make audible. Unstrung, the structure is sound. Here, one comes to sound as noun, sonus, an utterance, but one “unstrung,” sent forth to reflect, refract, echo and overlap, from all and in all directions, amid an architecture, within the ear. It is a structured, yet fugitive sound – as Edison termed it listening to his new invention, that captivator of noise, the phonograph. [2] There, too, is another sense of sound: sound as adjective, from the Old English- Germanic gesund, health or healthiness, free from defect, as in of sound mind, sensible, sound judgment, of substantial or enduring character, as in: this unstrung structure, as such, will hold, shall persist. It is from within these protean constructions of sound and sense that I want to begin this listening of Mac Low’s 1971 performance at Sir George Williams University (SGWU) in Montreal. -
Radical Dialectics in the Experimental Poetry of Berssenbrugge
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Radical dialectics in the experimental poetry of Berssenbrugge, Hejinian, Harryman, Weiner, and Scalapino Camille Martin Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Martin, Camille, "Radical dialectics in the experimental poetry of Berssenbrugge, Hejinian, Harryman, Weiner, and Scalapino" (2003). LSU Doctoral Dissertations. 926. https://digitalcommons.lsu.edu/gradschool_dissertations/926 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RADICAL DIALECTICS IN THE EXPERIMENTAL POETRY OF BERSSENBRUGGE, HEJINIAN, HARRYMAN, WEINER, AND SCALAPINO A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and A&M College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Camille Martin B.M., Louisiana State University, 1978 M.M., University of Rochester, 1980 M.F.A., University of New Orleans, 1996 May 2003 ©Copyright 2003 Camille Martin All rights reserved ii Begin with this: the world has no origin. Continue with this: not body vs. soul, but the inherent doubleness of any situation. Thus in fusion there is also abyss. Clayton Eshleman, Under World Arrest iii ACKNOWLEDGMENTS I am very grateful to my co-chairs, Professor Adelaide Russo and Professor Sharon Aronofsky Weltman, whose encouragement, guidance, and suggestions immeasurably improved this dissertation, and indeed were indispensable to the completion of the project. -
Jackson Mac Low, 82, Poet and Composer, Dies
What's on the Times best-seller list ? NYTimes: Home - Site Index - Archive - Help Welcome, raworth - Member Center - Log Out Go to a Section Site Search: NYTimes.com > Books Jackson Mac Low, 82, Poet and Composer, Dies By MARGALIT FOX Published: December 10, 2004 ackson Mac Low, a poet, composer and performance artist whose work reveled in what happens when the process of composition is left to carefully calibrated chance, died on Wednesday at Cabrini Medical Center in Manhattan. He was 82 and lived in Manhattan. The cause was complications of a stroke that he had last month, according to the Academy of American Poets, which announced his death. Anne Tardos Advertisement The author of more than two Jackson Mac Low dozen books of poetry, as well as musical compositions, plays and ARTICLE TOOLS multimedia performance works, E-Mail This Article Mr. Mac Low was a seminal Printer-Friendly Format figure in the American Most E-Mailed Articles experimentalist movement of the Reprints & Permissions 1950's and after. A founding member of the avant-garde group Fluxus, he collaborated frequently with the composer John Cage. In recent years Mr. Mac Low often MULTIMEDIA worked with his wife, Anne Graphic: A New Way to Read Tardos, a poet, artist and a Poem composer. READERS' OPINIONS Forum: Join a Discussion on What united Mr. Mac Low's Book News and Reviews output was a fascination with randomness and with the limitless combinatorial Forum: Join a Discussion on possibilities of language. Popular Music "The sense of words as being primarily in a circumstance that's limiting - sentencing them to sentences - he did not take kindly to that," the poet Robert Creeley said in a TIMES NEWS TRACKER Topics Alerts telephone interview yesterday. -
SIMON INGRAM B
GOW LANGSFORD GALLERY SIMON INGRAM b. 1971, New Zealand. Lives and works in Auckland Simon Ingram’s painting practice sets up a conversation between art and technology. Having exhibited in New Zealand, Europe and the U.S. for more than ten years, Ingram has an established exhibition history, a highlight of which is his inclusion in Minus Space at P.S.1 Contemporary Art Center - MoMA affiliate in Long Island City, New York. Ingram has a Doctorate of Fine Art from Elam School of Fine Art, University of Auckland (2006) where he is now a Senior Lecturer. He has won notable awards, including the University of Auckland Best Doctoral Thesis Award (2007). His work is held in key New Zealand private collections and in public collections including the Auckland Art Gallery Collection. Simon Ingram has exhibited with Gow Langsford Gallery since 2008. EDUCATION 2006 DocFA, University of Auckland, New Zealand 1999 Masters in Visual Arts, Sydney College of Art, University of Western Sydney, Australia Certificate in Information Technology, Sydney TAFE, Sydney, Australia 1995 Post Graduate Diploma, University of Western Sydney, Australia 1992 BA Fine Art, University of Auckland, New Zealand SOLO EXHIBITIONS 2013 Radio Painting Station, JAR, Auckland 26 LORNE ST PO BOX 5461 WELLESLEY ST AUCKLAND 1141 NEW ZEALAND - T +64 9 303 4290 F +64 9 303 4302 - WWW.GOWLANGSFORDGALLERY.COM [email protected] GOW LANGSFORD GALLERY Interview with a Painting, Gow Langsford Gallery, Auckland Smoking Bolts, Artspace, Sydney 2011 En Plein Air, The Suburban, Chicago -
James Sherry
JAMES SHERRY SUMMARY James Sherry is the author of 10 books of poetry and prose. He is editor of Roof Books and president of the Segue Foundation, Inc. in New York City. Born in Philadelphia in 1946, Mr. Sherry graduated Reed College in 1968 with a Woodrow Wilson fellowship. In 1976 he began Roof Magazine and started Segue Foundation in 1977. He worked for several years as a freelance writer and in 1980 began working in technology for IBM and various Wall Street firms. In 2011 he joined the Occupy Alternative Bank subgroup and remains active in that group. He lives in New York City with his wife, Deborah Thomas, publisher of Extra!, the magazine of Fairness And Accuracy in Reporting (FAIR). They have one son, Ben, 21 years old. BOOKS -Four For (Buffalo, NY: Meow Press, 1995), poetry, 20pp. -Our Nuclear Heritage (Los Angeles, CA: Sun & Moon Press, 1991), prose, 262pp. -Doscapade (New York: Hot Bird 1991), poetry, 10 pp. -The Word I Like White Paint Considered (Windsor, VT: Awede Press, 1986), poetry, 20pp. -Lazy Sonnets (Hartford CT: Potes and Poets Press, 1986, originally published by Gibralter Press, 1971), poetry, 26pp. -Popular Fiction (New York, NY: ROOF Books, 1985), prose, 82pp. -Converses (Windsor, VT: Awede Press, 1983), poetry, 72pp. -Integers (New York, NY: DTW, 1980), poetry 12pp -In Case (Los Angeles, CA: Sun & Moon Press, 1980), prose, 52pp. -Part Songs (New York, NY: Segue Press, 1978), poetry, 30pp. ANTHOLOGIES: -Annual Survey of American Poetry: 1986, editorial board (Great Neck, New York, Roth Publishing, 1986), 279 pp. -Boundary 2, vol. -
Politics of Language Poetry
George Hartley on Language Poetry Page 1 of 8 Textual Politics and the Language Poets (excerpts) by George Hartley (1989) "Let us undermine the bourgeoisie." So Ron Silliman ends his contribution to "The Politics of Poetry" symposium in L=A=N=G=U=A=G=E 9/10 (October 1979). The organizing topic of that symposium was "what qualities writing has or could have that contribute to an understanding or critique of society, seen as a capitalist system." While many respondents pointed out their difficulty with the notion that writing per se has any generalizable qualities, most of the participants agreed that, in one way or another, a particular poetry at a particular time may offer a critique of bourgeois society. Specifically, what has come to be known as Language Poetry is held out to be one of the poetic modes of the present moment (in addition to certain minority, feminist, and gay poetries) which functions as such a critique. But in what ways can the following excerpt from Charles Bernstein's "Lift Plow Plates" be seen as a critique of capitalist society? For brief scratches, omits, lays away the oars (hours). Flagrant immersion besets all the best boats. Hands, hearts don't slip, solidly (sadly) departs. In what ways is this writing "'decentered', 'community controlled', taken out of the service of the capitalist project," as Bernstein himself puts it in his contribution to "The Politics of Poetry?" This book is a critical analysis of how some so-called Language Poets have answered those questions. Who are the Language poets? The answer to that question depends on how one defines the label.